Abstract
Barely a year after Teresa Deevy’s Katie Roche was produced, the 1937 Constitution was ratified and represented the culmination of the ‘process of institutionalizing Catholic doctrine. It afforded a special position to the Catholic Church and reflected Catholic teaching in its articles on the family, education and private property.’1 The chief architect of the Constitution was Taoiseach Eamon de Valera, who held staunchly conservative views on religious, social and sexual matters. Yet, as Jenny Beale suggests, his approach was ‘supported by the Catholic majority, and few were prepared to oppose the main thrust of the Constitution. Women’s organizations campaigned for the deletion of the articles on the family, education and social policy, but failed to get any member of the Republic’s legislature, the Dâil, to champion their cause.’2 Beale notes how the ‘terms “woman” and “mother” are used interchangeably’3 in Article 41, and the synonymity with which the terms are used is indeed striking:
41.2.1 In particular, the State recognises that by her life within the home, woman gives to the State a support without which the common good cannot be achieved.
41.2.2 The State shall, therefore, endeavour to ensure that mothers shall not be obliged by economic necessity to engage in labour to the neglect of their duties in the home.4
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Notes
Jenny Beale, Women in Ireland: Voices of Change (London: Macmillan Education, 1986) p. 9.
E.J. Cahill, The Framework of a Christian State: An Introduction to Social Science (Dublin: M.H. Gill and Son, 1932).
Robert Hogan, After the Irish Renaissance: A Critical History of the Irish Drama since “The Plough and the Stars” (London: MacMillan, 1968), p. 53.
Robert Hogan, After the Irish Renaissance: A Critical History of the Irish Drama since ‘The Plough and the Stars’ (London: MacMillan, 1968) p. 56.
Paul Vincent Carroll, Shadow and Substance in Two Plays: The Wise Have Not Spoken; Shadow and Substance (London: Macmillan, 1948) p. 111.
Slavoj ſižk, Looking Awry (Cambridge, Massachusetts: MIT Press, 1992) p. 137.
Slavoj Žižek, The Plague of Fantasies (London and New York: Verso, 1997) p. 8.
Robert Hogan, After the Irish Renaissance: A Critical History of the Irish Drama since ‘The Plough and the Stars’ (London: MacMillan, 1968) p. 57.
Louis D’Alton, Lovers Meeting (Dublin: P.J. Bourke, 1964), p. 10.
Cited in Ann Saddlemyer (ed.) The Collected Letters of John Millington Synge, Vol. 1 (Oxford: Oxford University Press, 1983) pp. 116–117.
Juliet Mitchell and Jacqueline Rose (eds) Feminine Sexuality: Jacques Lacan and the école freudienne, Jacqueline Rose (trans.) (New York: Norton, 1985) p. 80.
Frank Carney, The Righteous Are Bold (Dublin: James Duffy, 1952) p. 5.
Mladen Dolar, ‘The Object Voice’ in Renata Salecl and Slavoj Žižek (eds) Gaze and Voice as Love Objects (Durham and London: Duke University Press, 1996) p. 27.
Mladen Dolar, ‘The Object Voice’ in Renata Salecl and Slavoj Žižek (eds) Gaze and Voice as Love Objects (Durham and London: Duke University Press, 1996) p. 27.
Christopher Murray, Sean O’Casey: Writer at Work: A Biography (Dublin: Gill and Macmillan, 2004) p. 318.
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© 2008 Paul Murphy
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Murphy, P. (2008). Woman Gives to the State. In: Hegemony and Fantasy in Irish Drama, 1899–1949. Palgrave Macmillan, London. https://doi.org/10.1057/9780230583856_9
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